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As is evident from a great number of cases, CPW widely use the two mentioned forms of influence, together or separately, individually or in groups of people.
In the early 1980th, the perfectly atheistic at that time journal "Nauka i Religia" ("Science and Religion") (now it has become equally occult) featured an article denouncing Indian fakirs deceiving public. It described a well-known Indian fakir's performance in England.
The scene presented to the British audience that filled all tribunes of a large stadium was rather primitive and yet fascinating. The swarthy fakir placed himself in the middle of the field and plunged in meditation. His assistant boy took his place standing beside him. A large wicker basket and a hank were put nearby. After a few minutes of intense expectation one end of the rope slowly began to untwist by itself like a coiled up cobra. It kept going up and up untwisting the hank ring after ring. Finally it stood still having gained about five meter height. The boy came up to it trying to swing it. The rope did not yield staying straight as a steel pipe fixed in the ground. Then the boy climbed the rope up and disappeared. The infuriated fakir followed him with a knife. Some minutes passed and bloody parts of the boy's body began falling on the ground from the emptiness above. Then the fakir descended by the same rope, collected the horrible remains from the ground and put them into the basket. One moment - and the boy came out of it safe and sound.
While the tender-hearted ladies were staring in awe at the child's arms and legs falling from above, the sterner sex did not waste their time. The legendary Sherlok Holmse's[?sp] compatriots had in advance fixed four movie cameras on the stadium's corners and were quite successful in filming the whole performance. Imagine their disappointment when, instead of the dreadful picture just watched by their own eyes, all the four films contained one and the same scene, that had not a bit changed anyhow during the whole "performance": the fakir sitting still near the motionless hank, and the deadly bored boy shifting from one foot to the other beside him.
Two facts are evident here: 1) thousands of people watched one and the same scene while 2) nothing of what they saw was taking place in the objective material reality. How could that be? Why did they fail to notice the bare truth so plainly fixed by the cameras? The visual "clip" is likely to be translated directly into the spectators' minds bypassing the usual path through the eyes and visual nerves. The direct telepathic translation made thousands of people "see" in their own minds the horrible movie, whereas the dispassionate cameras evidenced the fakir's objective outward inactivity.
A question arises: who could translate the illusory picture into the minds of thousands of people? The magazine "NLO" ¹ 44 (November 1, 1999, p.19) informs us of the opinion of two American researchers, Richard Veisman and Peter Lamon, published in "Nature", who consider Indian fakirs able of producing such mass hallucinations. But this explains nothing. The fact that something happens in somebody's presence does not necessarily mean that it is performed by his own power. Natural abilities are those common to all representatives of the human nature. Is human nature endowed with such power? And if it transcends human nature whose nature does it belong to?
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